“Narziss Maschine I” as shown at Lichtburg Forum Berlin Wedding
The Narziss Maschine (narcissus machine) is a PureData [pd] installation that uses a real-time camera feed. The video feed / frames are then chaotically rearranged and projected opposite of the viewer. Thus the audience becomes part of a movie but unlike a plain TV signal gets shown a feed that is constantly jumping forwards and backwards. The effect on the audience is an astounding one. People instantly start to react to their own image but unlike in a mirror, the random based frame reordering reflects a detached version of themselves.
This is part two of “how low can you go”, a series of animated GIF art that ask two questions. How low can you go in resolution & morals.
“how low can you go 04” GIF animation, 300x176px, 2014
We are programmed, hard wired (by our neural network) to react to those colours and patterns of motion and shape, especially when it comes to primitive ‘content’. I have always been interested in exactly that question: how low can you go and degrade a signal, an information, picture, sound, so it is still percievable as such – as structured information. Yet it is that border, the lowest visual/informational signal to noise ratio – that is what facinates me if you will.
“how low can you go 04” GIF animation, 300x184px, 2014
“how low can you go 06” GIF animation, 122x250px, 2014
“how low can you go” is a series of animated GIF art that ask two questions. How low can you go in resolution & morals.
“how low can you go 01” GIF animation, 294x176px, 2014
That is to still connect to the human aspect of the depiction / image. Do we recognize the male or female body within the pixels? What does the movement induce, is it enough to orientate us as to what we are watching? Or is it the flesh tones? What are we watching anyway? Is it porn, is it art and who cares anyway?
“how low can you go 02” GIF animation, 294x176px, 2014
“how low can you go 03” GIF animation, 294x176px, 2014
The mass-media-magnifying-glass this week focusses on Kobane. A small town in northern Syria that is only relevant to it because it is visible from a safe distance / border (with Turkey).
“kobane_afp” glitch 4th°, 850x318px, 2014 – original photo AFP / Aris Messinis
Hundreds of cities have been ravaged by fundamentalism in Syria and Iraq in these last months, no camera was present, newspapers & TV where slow to realize the tragedy that was going on. It was such a nice summer. But that’s how modern day mass media work. The need an iconic subject, a small world to exemplify and explain the big world to us…
Glitch art porn is SFW 😉 But beware, don’t get your hands dirty with the pixels…
“next_group (her_face_005)”, glitch 4th°, 589x800px, 2014
Glitch art has been around for some time now, just think about Cage, Paik or even before that Dada in a sense. But with the advent of digital media, the glitch aesthetic has changed, absorbing new errors, failures and bugs. Now a distinct term in either electronic music, digital art, video art and even poetry, the glitch has arrived in main stream media for better or worse. There is a growing community sharing source materiel, techniques and know how, a new art form is emerging and it is vibrant.
Many cultural complexes have been altered permanently with the advent of digital technology but nothing parallels the rise of everyday pornography. Ubiquitous, it now is accessible to everyone at any time any place. The pornographic content that is shared has a tendency to radicalize, videos and pictures getting more and more hard core, the depicted practices often disturbing and bewildering. Finally the gender specifics seem to demand / imply a demeaning and degrading picture of “the female”, not speaking of their more or less consensual participation in these productions. This is what the series “her_face” is about.
The web 2.0 is so sexophobic it always makes me laugh so hard…
“digital_origine” glitch 3rd°, 1024x846px, 2014
based on “L’Origine du monde” by Gustave Coubet, oil on canvas, 46×55cm, 1866
I once founded a facebook group and used a miniature of Gustave Courbets’s “L’Origine du monde” as a picture for it. It took fb just a day or two before they censored the image. Now being part of the beautiful “Glitch Porn” group, there is a discussion going on, if we should post the source materiel which is NSFW by definition… This spawned my interest: could I do it again, this way and it would pass… well, we will see. Keep you updated.
But this picture has always been politically and socially explosive. Painted for a private cabinet, it was later acquired by the famous psychoanalyst Jaques Lacan who was it’s latest owner and kept it hidden behind a second painting. This cover-up painting was especially designed to represent the basic shapes and forms of the depicted ancestral womb but well disguised by a innocent landscape. It now can be found in Paris, in the Musée d’Orsay. I have never seen it myself…
Heaven… I’m in heaven, And my heart beats so that I can hardly speak.
And I seem to find the happiness I seek, When we’re out together dancing cheek to cheek.
“my_dear_heaven (her_face_002)”, glitch 4th°, 800x1000px, 2014
“my_dear_heaven” is a part of my post privacy glitch porn art series “her_face”. Her face deals with the depiction of the female face or its omission for that matter in modern day web pornography. In this instance, the source material was actually a transvestite / transsexual / transgender male in beautiful agony. While seeing it, it reminded me about that song “cheek to cheek” and it still does every time I see it.
Our dark nature is so often so well hidden, we tend to forget it or rather want to do so…
“53D1468B (her_face_004)”, glitch 4th°, 800x505px, 2014
“53D1468B” is a part of my post privacy glitch art series “her_face”. Her face deals with the depiction of the female face or its omission for that matter in modern day web pornography. Don’t get me wrong, I don’t condemn either the participants nor the producers of the original material. It is a wide spread cliché that all (at least) female actresses are bound to or forced into porn against their will and suffer pain and degradation without consent. Truth of the matter is I cannot judge what happened here because I don’t know the circumstances under which it was filmed. But that is missing the point anyway.
See that’s what happens when autumn kicks in on a Saturday afternoon. Well, if it flows, keep it flowing 😉
“Terraforming?” 3:55 min, DV, 2003
“Terraforming?” is quiet obvious in what it wants and says. The main question uttered there could be: “do we really need to terraform other planets (like Mars) when at the same time we are gladly destroying our own habitat – planet Earth”. Also: “is space like a giant vagina we have to fuck (forgive the expression) with a giant rocket and ejaculate astronauts like space seeds?”. Further: “What if technology evolves beyond us and produces self-aware robots that just might see us a an antiquated form of life and decides to get rid of us…” These are questions we have to ask ourselves… in my opinion.
I have always had a perverted and fetishistic relationship to space exploration. To me it used to symbolize the future in itself, all the good that man is capable of – a dream of a better world. Nowadays space exploration is mainly about war, espionage and resources. It has been fully integrated in the destructive logic of our here and now instead of remaining the beacon of adventure, exploration and progress – it simply has been capitalized like everything else in this world. Well, that is a naive vision, I agree, for space exploration has emerged out of the military-industrial complex, mainly a a war machine… agreed! But it used to inspire this optimistic and progressive emotion not just with me but also with so many others! “The future used to be a better place” says the old and bitter artist 😉
“before the fuck”, social glitch, 4000x3000px, 2012-2014
Sometimes, no need for glitching, society glitches all by itself. Some call this post privacy art…
“before the fuck” is an ongoing series of digital stills taken from porn sites and chat pages in that particular moment, when the user / actor leaves the room and us with that distinctive feeling of loneliness and bleak despair. It is a look inside the sadness and harshness of modern day sexuality when confronted with ‘the market’.